PASKETRYi 

lil AND 

1 WEAVING , 

KATHERINE PASCH | 




IS^ 



.FLANAGAN Ce 

PUBUSHERS CHICAGO 



i 



Basketry and Weaving 



In the School 



BY 

KATHARINE PASCH 

Springfield, Illinois 



CHICAGO 

A. FLANAGAN COMPANY 



X 



LIBRARY of CONGRESS 

Two Copies Received 

APR 19 1904 

CoDyrleht Entry 

CLASS c^ XXc. No. 

COPY B 



^ 



COPYRIGHT 1904 

BY 

A. FLANAGAN COMPANY 



BASKETRY AND WEAVING 



IN THE SCHOOL 



In the last decade, it has been demonstrated beyond ques- 
tion that industrial art may be introduced into the schools 
without in the least lessening their efficiency in intellectual 
training. Its introduction awakens the interest of pupils who 
have special need of being interested, and it is helpful to both 
teacher and child. By it the home and the school are brought 
into closer relations. 

The child, in his early years, has the tendencies of primitive 
man. In his play he imagines himself a savage far away from 
civilization. He builds fires in the open air and hunts imag- 
inary wild animals that roam in imaginary forests. He has 
not been told of the cave dwellers who passed through the fish- 
ing, hunting and pastoral stages, yet within him is the longing 
for a life like theirs. 

Intellectual training pursued along this line of interest, be- 
ginning with the study of primitive man and leading up to 
the present conditions, will take the child out into the indus- 
trial world, and he will be made to feel that a place is await- 
ing him in it which he will fill later on. 

He is also made to feel that work is honorable and labor is 
to be respected. 

The needs of the home furnish many interesting topics for 
language work, number work and geography. 

The first needs were food, clothing and shelter. Primitive 

3 



4 BASKETRY AND WEAVING 

man supplied the first of these by fishing and hunting. The 
grasses, bark and skins of animals lent themselves to the rude 
construction of his clothing and shelter. 

Undoubtedly the first vessels used by man were shells and 
gourds. Later he made receptacles of clay. In order more 
conveniently to carry these, a rude sort of twisted netting 
was made. The clay broke easily, and he found that the net- 
ted cover still served him. He gradually improved upon this, 
and different forms of baskets were the result. From this 
crude beginning there has grown up through the ages an art 
that to-day supplies us with necessities and luxuries. Indeed, 
if we were to eliminate woven products from our homes, in 
the form of carpets, rugs, curtains, linen and clothing, we 
should have little left of our boasted civilization. 

In his early school life the child contrasts the simple build- 
ing, weaving and home life of early days with the complex 
building, weaving and life of to-day. He constructs minia- 
ture huts, spins and weaves wool for miniature garments and 
models clay dishes. He is taught to observe nature as did 
early man, who depended upon the seasons to furnish his food 
supply. He must know when to sow the seed and how to 
harvest and store it. When he wishes to dye his weaving- 
materials, he must go to nature for his colors. 

In searching for materials, the child is taken to the heart of 
Africa, where he finds the natives constructing their homes 
and clothing from the fiber of the palm. He becomes more 
interested in geography, and is enabled to form more perfect 
images of the people of other lands and their occupations. He 
also learns of the struggle of mankind to supply his needs. 

As he is interested, language will come to him and he will 
delight in telling his own experience. When he feels that he 



IN THE SCHOOL 5 

is taking part in the work of the world, a self-respect is put 
into him and he becomes more useful. His activity, which 
heretofore ran riot, is now directed ; he becomes one of a 
community and his wush is to make himself useful and have 
his work appreciated. The boy wdio was once a trial in school 
often becomes his teacher's helper. 

Some one has said, ''Accidental manual training has been 
the cause of civilization," as it was by accident that primitive 
man discovered his ability to construct. 

The making of one utensil often suggested the possibility 
of others. As his wants became more numerous he set about 
the task of supplying them. 

Hand work is found to have quickened the faculties, and 
an awakening to situations has been the result. 

The grade teacher may think there is no time or place on 
her program for this work; but when she takes it up in the 
true spirit it is not a thing by itself. It becomes a part of 
every lesson in the school. Basketry and weaving are the best 
forms of industrial training, as they are adaptable to any school 
grade, and the materials are easily handled and inexpensive. 

The baskets themselves, or the woven articles, have very 
little value; but the training of the hand, the searching for 
materials, the study of the needs of the home, and the sup- 
plying of these needs, all tend to make geography and history 
more real to the child. A greater interest in the home is 
awakened by the making of furniture and rugs from raffia or 
raveled-out matting. 

Education to-day demands that manual training be given a 
place in the work of the school. 

Will such training not make the children more fully co- 
operate with the world's work? 



BASKETRY AND WEAVING 



MATERIAI^S 



To the teacher who thinks of doing basketry and weaving, 
the question of materials may seem rather a formidal^le one. 
However, if she pursue the work with vigor and interest, the 
supply will be surprisingly easy to obtain. Raveled-out mat- 
ting and ingrain carpets, yarns of every kind, silkoline and 
muslin are some of the materials at hand. Raffia and reeds 
may be purchased at any of the large seed stores. 

The raffia, which is a product of the Madagascar palm, is 
rich in possibilities. It comes in large hanks and costs twenty- 
five to forty cents a pound. 

Picture frames, boxes, mats, shopping-bags, hats for dolls 
and people, hammocks and baskets are some of the articles 
which may be made from this material. 

Even the grasses from the fields and the willows from the 
creek may be put to good use. The only tools required are 
knives, scissors and needles. 

BRAIDING 

In all the work have the children strive for perfection. Do 
not accept poorly braided or half-sewed articles. Criticize in 
the kindest manner, as harsh criticism will kill the enthusiasm. 
Praise when it is possible — not extravagantly, but justly. 

Very small children may be taught braiding and knotting. 
Teach first the three-strand braid, using two or three threads 
in each strand. The raffia may be braided dry, or kept moist 
by plunging in water, as one prefers. The strands should be 
brought over to the sides and pressed firmly each time, to 
keep the braid flat. Secure the knotted end with a tack to the 
under side of a desk or window sill, and keep the work fast- 



IN THE SCHOOL 





II 




8 BASKETRY AND WEAVING 

ened about a foot from where you are braiding. When the 
strands become thin, replenish them by simply laying in new 
strands of the raffia. Braid these in without any attempt at 
concealing the ends, which may be left out an inch or so at the 
side. Afterward, cut off these ends carefully, close to the 
braid, and no trace is left of their entrance. 

This braid may be made into napkin rings, picture frames, 
mats, bags or doll-hats. It may be sewed wnth the flat sides 
together, or edge to edge. Use a tapestry needle threaded with 
raffia, and sew through the loops of the braid, hiding the 
stitches as much as possible. 

TO MAKE A DOI.I.-HAT 

Have the children draw pictures of simple shapes of hats. 
Fold a piece of paper and cut out the hat pattern the desired 
size and shape, as in Fig. I. The opening in the paper serves 
as the pattern into which the material may be fitted. The shapes 
may vary. Some might have a rounded crown and a brim 
turning up. Others might take on the shape of the Mexican 
sombrero. Begin at the center of the crown to sew^ the braid 
in a circle. 

PICTURE ERAME 

Make a circle of cardboard and cut out the center, leaving 
a two-inch margin. Tie the raffia on the back of the card- 
board, bring up the thread and make a loop over the finger 
and around the cardboard and under, coming up on the back 
and through the loop. Pull down gently and you have a but- 
tonhole stitch, as in Fig. 11. Continue this stitch until the card- 
board is covered. Or the same shaped cardboard may be 



IN THE SCHOOL 9 

simply wrapped over and over with the raffia that has been 
moistened to make it smoother. 

BASKETS 

Baskets are of two kinds, sewed and woven. Three-strand 
braids of raffia make the simplest of the sewed baskets. Begin 
to sew in the center of the bottom and sew around in a circle 
or an oblong. In shaping for the sides, place the braid on 
the top of the last row in the bottom. A little experience in 
sewing will enable one to make beautifully curved baskets 
with these braids. The coiled baskets require material to form 
a rope over which we sew with a thread of raffia. For the 
rope or filling, one may use rattan, which makes a firm, hard 
filling, but is too difficult for beginners to handle. 

The raffia makes a very good filling, as do binding twine 
and small cotton rope. 

Splints and rattan are used for the woven baskets. The 
rattan is a pliable reed which comes in sizes numbering from 
one to six. 

SKWED BASKETS 

Fig. Ill shows the manner of beginning the sewed basket. 
Select the large ends of twelve or fifteen strands of raffia to 
form the rope. Begin about an inch from the end with a 
threaded strand of raffia, and wrap the strands until the end 
is reached. Then turn the coil on itself, and put the needle 
directly through the twisted coil and sew securely through the 
rope as shown in Fig. IV. Then wind the rope with the 
threaded strand for about the fourth of an inch; sew again 
through the rope, being careful to keep the stitches pointing 
toward the center, as in Fig. V. The firmer the coils are 



10 



BASKETRY AND WEAVING 





VIII 





IN THE SCHOOL U 

wound and the closer the stitches are placed, the stronger will 
be the basket. 

This stitch may be varied by passing the needle over and be- 
tween the coils instead of through them. When the threaded 
strand becomes short, allow it to drop into the rope, and take 
up a new one for a short distance to hold it; then sew as be- 
fore. When the strands of the rope grow smaller, add a 
few more threads at a time and wind carefully to conceal the 
ends. 

Don't delay introducing designs in color, as it adds to the 
beauty and makes the work more fascinating. To make the 
design in the bottom of the basket, begin in the first or sec- 
ond round and mark with colored thread the divisions of the 
circle. (Fig. VI.) Drop the threaded strand and, taking the 
colored raffia, wind and sew the desired distance. Then drop 
the colored strand and use the natural color from the rope 
until the next space for color is reached, when you again pick 
up the colored raffia and sew in the design, continuing in this 
way until the design is complete. When the sides are reached, 
divide into spaces for color, and work in a simple design. 
(Fig. VIII.) 

A simple design for the bottom of a basket is shown in Fig. 
VI I. Fig. IX shows a pattern that might serve for the bottom, 
and the same idea is carried out for the sides in Fig. X. 

Coil stitch: — Take strands for a rope, as in Fig. Ill, and wind 
the same as for the first basket until the first coil is made. 
The threaded strand should be colored for this stitch, as the 
radiation of the colored thread makes the pattern. Keep the 
rope well twisted, and with the threaded strand coil over and 
into the center of the rope until one round is completed. Then 
around the twisted rope— held firmly against that already 



12 



BASKETRY AND WEAVING 



sewed — wrap the colored strand in a loose coil and insert the 
needle each time at the right of the stitch as in Fig. XL 




CJiaiii stitch: — When this stitch is carefully done it has the 
appearance of a crocheted cord. Begin the coil as in Fig. Ill, 
and wrap about four times before taking a stitch through the 
coil. (Fig. IV.) There should be about six or eight of these 
sewed stitches in the second round. Let the raffia come across 
as broad as it will, as it is in this thread that the next stitch 
will be taken, splitting the thread to insert the needle. (Fig. 
XXII.) If the stitches become so far apart as not to hold the 
coil firmly, add new stitches in the space. Color may be used 
in this basket with pretty effects. 

WOVEN BASKETS 

For these rattan is the most desirable, though cane and In- 
dian splints may be used. The spokes should be at least two 
grades coarser than the weaver. Nos. 4 and 2 make a firm 
1)asket, or 3 and i for finer weaving. For a small basket, cut 
eight spokes about sixteen inches long and one spoke nine 



IN THE SCHOOL 



13 




XIV 



XV 



14 BASKETRY AND WEAVING 

inches in length. This is to make the number of spokes un- 
even, as you will learn that the over and under weaving can- 
not be done on an even number of spokes. 

After soaking these spokes in lukewarm water until pliable, 
split four of them in the center far enough to allow the others 
to be inserted. (Fig. XII.) 

Now take a long strand of raffia and wrap firmly around 
the spokes where they cross. (Fig. XIII.) Then weave over 
one and under one, over one, under one, until about an inch in 
diameter. (Fig. XIV.) The pliable raffia gives a closer, 
firmer weave than it would be possible to obtain with rattan. 
In bringing the threads around the spoke, they should be 
drawn down tightly. This is best done by holding the spoke 
firmly between the thumb and forefinger of the left hand, while 
with the right hand the thread or weaver is drawn directly in 
a line across the center. 

The rattan for weavers should be soaked at least half an 
hour before any attempt is made to use it, and if it shows signs 
of splitting, leave it in the water until it is more pliable. 

Weave from left to right. To finish off the top edge, the 
ends of the spokes may be disposed of in several ways. The 
writer left this for the children to solve. They soon discovered 
that it would not do to cut the spokes off, and the result of 
their thinking was a border resembling Fig. XVI. A firmer 
edge may be made by taking one spoke and placing it back pf 
the one next, and in front of the next two spokes, allowing the 
end to come on the inside of the basket. Treat each spoke in 
this way, pressing them down firmly. 

If curved sides are desired, the curving upward is done very 
gradually. If you wish straight sides, soak the spokes well, 
and turn up sharply. To make a large basket, split half the 



IN THE SCHOOL 15 

reeds as for the smaller basket. The spokes may be separated 
hito groups of two for several rounds, as in Fig. XV. Then 
begin the over and under weaving around each spoke. 

RATTAN MATS 

Table mats may be made of the rattan, using six or eight 
spokes with the half spoke and keeping the weaving flat. Al- 
low four or five inches on the ends of the spokes to fold back 
to form the border. (Fig. XVI.) 

SIMPLE ROUND BASKET 

Use for the bottom a heavy pasteboard. Cut out the circle 
about three inches in diameter, and pierce with nine holes 
about one-fourth of an inch from the edge of the cardboard. 
Take four pieces of No. 4 reed about fourteen inches long. 
After soaking, put the ends of the spokes through each pair 
of perforations, making a loop on the under side. (Fig. XVII.) 
There will be one hole remaining. Into this put a spoke about 
eight inches long, and allow the end to be put alongside a 
neighboring spoke. Use N'o. 3 reed for the weaver, and weave 
about three or four inches high. (Fig. XVIII.) Fasten down 
the ends of spokes as shown in Fig. XIX. An oval piece of 
cardboard may be used in this basket to vary the shape. 

Fig. XX shows a basket with straight sides. 

BOWL-SHAPED WOVEN BASKET. 

Use eight spokes of No. 4 rattan sixteen inches long, and one 
nine inches long. After four of the spokes have been split and 
the others inserted, wind the center with raffia until about 
one inch in diameter. Then take a soaked weaver of finer 



16 



BASKETRY AND WEAVING 




XVJ 




XVII 




xrviii 




XIX 




XX 



IN THE SCHOOL 17 

number and weave over and under, until the sides are reached, 
when the spokes should be gently turned upward and outward. 

This basket may be woven about five inches high. The 
spokes should be well woven in at the top to give greater firm- 
ness. 

A twisted handle may be put on this basket. Take a No. 4 
reed long enough to insert in each side and extend over the 
top. A weaver is then made fast on one side under the last 
few rows, twisted around the heavy reed to the other side, 
and fastened. Return to the opposite side with this same 
weaver, allowing it to twist around the other that was brought 
over, and fasten down the end under the weaving at the side 
of the basket. 

Much has been said about originality in this work. But 
rather than let the children work without any definite aim in 
view, we had better resort to the mechanical pattern. Figs. 
XXIV and XXV show a folded paper with cut-out basket 
patterns. Into this the sewed material may be fitted. The 
cut-out piece serves as the pattern on which the design is 
placed to guide in the use of color. 

For the bottom of the basket a circular paper serves as the 
pattern. On this draw the design as in Fig. VII. Much de- 
pends upon the clioice of color. It is better to use few colors 
in the beginning — one color with the natural raffia making a 
very nice basket. Avoid the use of many brilliant hues in one 
basket. Study carefully the colored Indian basket, and you 
will observe that in them there is no promiscuous mixture of 
colors. 

Let the use of the basket determine somewhat the shape. 
It may be that we wish it for mama's sewing table. If so, 
we want it to be such a shape as to hold articles found there. 



18 BASKETRY AND WEAVING 

Or we may want a pencil basket. Here again, the use will sug- 
gest the shape. 

Have no work done that will not serve a good purpose. 

WEAVING ON LOOMS 

The loom for this work may be purchased from the pub- 
lishers of this book. A simple loom may be constructed of 
four small strips of wood, fastened at the corners. Place 
small-headed nails, one-fourth of an inch apart, on each of 
the ends, around which the warp is placed. A very simple 
loom may also be made from a square or oblong of cardboard, 
by making slits in each end through which the warp is placed. 

A kindergarten needle for paper weaving may be used to 
draw the material through, over and under the warp, always 
leaving the end in the weaving, instead of out on the edge. 

WASH-CLOTH 

Take strips of cheesecloth or candle wicking,and after string- 
ing the loom with white carpet warp, weave over and under 
till the cloth is completed, making it square. Cut out from the 
frame and tie the warp ends securely. 

doIvI.-bi.anke:t 

For this use any kind of yarn. The warp may be of cotton. 
Make it the full size of the loom, which is about ten by twelve 
inches. A very pretty border may be made by alternating 
threads of different color and weaving over and under two 
threads. 



IN THE SCHOOI 



19 





:?c:?cii 






yj±y 



B 




xxin 




KNOT FOR BAG 



20 BASKETRY AND WEAVING 

RAFFIA RUG 

Use cotton warp, and weave with strands of raffia that have 
been moistened, using colored raffia for the design. 

DOIvI^-SKIRT 

Cut out of pasteboard a flat pattern the size and length 
desired, allowing the top to be narrower than the bottom. 
(Fig. XXVII.) On these edges place notches one- fourth of 
an inch apart. Place the warp over around the notches and 
down the side, until one side is covered with warp ; then wind 
tlie other side in like manner. Begin at the top with the plain 
over and under weave and complete in this way. 

IRON-HOLDE^R 

Use cardboard for a loom. Draw a six-inch square and 
place perforations on three sides, one-fourth of an inch apart. 
Use heavy yarn ; that known as wool roving is best. 

Begin at A (Fig. XXIII), string the w^arp over both sides, 
then begin to weave on line A B, weaving across to line C D, 
then back again and through the perforation on the other side, 
weaving across and back to the perforations and through on 
the front. Continue this until the warp is entirely filled. 

The line C U is left open. Take out the cardboard and sew 
up the open side and you have a very useful holder for irons 
or a coffee pot. 

HOUSE FURNISHINGS, ETC. 

Build a miniature house and have the children furnish it, 
folding paper furniture, weaving yarn, raffia and cotton rugs 



IN THE SCHOOL 21 

for the floors, hemming curtains for the windows and covers 
for the tables, and painting pictures for the w^alls. 

In the first grade, for a basis of language work, take primi- 
tive life. Beginning with the cave dwellers, lead the children 
through the fishing, hunting and pastoral stages. The teacher 
will find a most helpful book for this work in ''The Place of 
Industries in Elementary Education," by Katharine Dopp. 
(University of Chicago Press.) Give the work in story form, 
allowing the children to do all handwork in connection witli 
the progress of early man. The cave may be built on the sand 
table. The grass mats and clay dishes, the netted covers for 
the water jugs, and the spinning and weaving are forms of 
play to the child. The experience gained in this way is later 
transformed into knowledge. 

BOXES AND NAPKIN RINGS 

Use the buttonhole stitch given for the photograph frame. 
(Fig. II.) Very pretty covered boxes may be easily made 
in this way : Take a circular piece of cardboard for the bot- 
tom, leaving a small opening in the center. After the circle is 
covered with the rafiia, this hole may be neatly darned. For 
the sides take a strip of cardboard long enough to extend 
around the bottom, and cover it with the same buttonhole 
stitch. A top may then be made of several circles, gradually 
growing smaller, laid one on the other, each circle being com- 
pletely covered with the buttonhole stitch before sewing to- 
gether. Napkin rings, also, are made with this same stitch. 
Use a strip of cardboard about two inches wide and five or six 
inches long. Join, and cover with buttonhole stitch. 

Square and oblong boxes may be made by taking pieces of 
cardboard the size and shape for each side and wrapping them 



23 



BASKETRY AND WEAVING 




XXIV 




XXX^ 



IN THE SCHOOL 23 

over and over with the raffia and afterward sewing them to- 
gether with an overhand stitch. 

KNOTTED BAG Oi^ RAFFIA 

Cut twelve pieces of cord or raffia ten to fifteen inches long 
for a small bag. Take the cord in the middle and loop over a 
ruler. (Fig. XXI.) Take two strands, one from each of two 
loops, and tie in an ordinary knot, being careful to draw it into 
position before pulling down tightly. Be sure to keep the knots 
in a line across. 

The bag should be lined with some soft material, and a draw- 
string put through the loops wdiere the ruler has been. This 
will make a very pretty receptacle for small articles. 

Doll hammocks may be made with the same knot, using a 
ring through which the strands are looped for the beginning. 
When the knotting ceases, fasten the ends in another ring. 
Large brass rings or small iron ones may be used for this pur- 
pose. 

COI.ORING OF MATERIAL 

The Indians discovered that the forests would yield dye for 
their grasses and yarns. The oak bark gave them yellow, and 
the walnut hulls beautiful shades of brown. Some of their 
colors they obtained by burying the willows and grasses in a 
clay which contained certain minerals and which imparted to 
their materials lasting hues. 

A knowledge of this will show the child how nature is our 
great storehouse, and that much thinking has brought about 
the perfection of color w^hich we now behold in our weavings. 

Why are Persian rugs so costly? We are told it is due to 
the careful dyeing. Not only once is their material dyed, but 



24 BASKETRY AND WEAVING 

several times. A beautiful softness of color is obtained in this 
way quite different from the effects secured by the use of the 
mineral dyes. 

SIMPLE RECIPES 

Logwood will make any shade of brown, according to the 
amount used. Make a decoction of the extract, and steep ten 
or fifteen minutes. No prettier nor more artistic color than 
this is obtained from any dye. 

For black, make a strong decoction of logwood extract and 
put in a few drops of blue vitriol, when the liquid will turn 
black. Soak the raffia in this until it is a dense black. 

For most of the work, these colors are sufficient, and much 
more artistic than a combination of bright hues. 

For red, soak the raffia in a solution of cream of tartar; 
then steep in a decoction of cochineal. The cream of tartar 
acts as a mordant. 

All decoctions are formed by a solution of the dye-stuffs. 
Take the amount of water required to cover the material you 
wish to dye and enough coloring to make the desired shade. 

To make yellow, soak the raffia in a solution of alum for 
about twelve hours. Make a solution of the amount of water 
required to cover the material, using an extract of fustic, until 
a good deep yellow is obtained. Heat this and put the raffia 
in ; boil for ten or fifteen minutes, until the desired shade is 
obtained. After removing the material from the dye, always 
wash thoroughly to prevent the color from rubbing off. 

In one school the children were encouraged to think for 
themselves as to how these colors were obtained. One little 
boy came to school with his hands stained with walnuts, and 
the thought occurred to him that perhaps he could dye some of 



IN THE SCHOOL 



25 




XXVI 




J^XVII 



26 BASKETRY AND WEAVING 

the basket materials used by his class, which had been anxious 
to obtain color for designs. He was allowed to take the ma- 
terial home, and in a few days returned it a beautiful brown. 
No suggestions had been given as to how he should proceed, 
and he gladly gave a good oral language lesson, telling how he 
secured the color. 

CoNCIvUSION 

The question has often been asked, ''May children be taught 
to speak well?" A child will usually talk about that which 
interests him. What, then, are the child's interests during his 
early life? Study his activities at this time, and we find him 
as portrayed in the poem by Robert Louis Stevenson. 

At evening when the lamp is lit. 
Around the fire my parents sit ; 
They sit at home and talk and sing, 
And do not play at anything. 

Now, with my little gun, I crawl 
All in the dark along the wall. 
And follow round the forest track 
Away behind the sofa back. 



These are the hills, these are the woods, 
These are my starry solitudes. 
And there the river by whose brink 
The roaring lions come to drink. 

I see the others far away, 
As if in firelit camp they lay. 
And I, like to an Indian scout. 
Around their party prowled about. 



IN THE SCHOOL 27 

Picture to him the hfe he longs for, and allow him to live 
it in an ideal way. When he becomes familiar with his own 
environment, take him, in his imagination, to the homes of 
the cliff dwellers and North American Indians. No l^etter 
subject could be found for reading material than accounts of 
their adventures. 

Let him become familiar with the story of 'Xolami, the 
Little Cliff Dweller," by Clara Kern Bayliss, and with "Indian 
Boyhood," by Charles Eastman. 

Blankets may be woven, the cliff house built, baskets sewed 
and the tepee made of twigs and skins. 

The pastoral and agricultural stages furnish material for 
study. Implements of all sorts suggest themselves in the study 
of the sheep and farming. 

Later, colonial life should be considered, and the home shown 
as the w^orkshop. Spinning, dyeing, carding and weaving were 
the chief industries. These should be studied and the condi- 
tions of the time noted. How much more real will the his- 
tory of the country be when we contrast the home life of those 
times with that of to-day ! "Home Life in Colonial Days," by 
Alice Morse Earle, will be a helpful book for this work. 

Spindles, cards and looms may be made, and the w^ool spun, 
dyed and w^oven. 

The value lies not m the articles themselves, but in the train- 
ino- the child receives from the work. 

The things a child can make 
May crude and worthless be. 
It is his impulse to create 
Should 2;ladden thee. 



HELP FOR PRIMARY TEACHERS 

By Marian M. George 



Ten Valuable, Practical, Helpful Assistants— one for each 
month in the school year, September to June, inclusive. 



FORPRin^RVAND 

INTLRNLDIATC 

TEACHERS 



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E acK Grade 



[THL GREATEST BOOKS 
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Your Work Must be 
Planned. No school 
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What material to use for 
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the year and where to 
find this material are 
questions all are asking. 
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teacher in making out 
her daily plans ; to show 
how school work may be 
correlated ; to enable her, 
f. otn its references, to 
turn at once to the 
needed book for the ap- 
connection with the day's 
be of educational value. 



propriate song or story to be used in 
lesson ; to provide seat work which will 

The Contents consist of science or nature lessons, black= 
board reading lessons, drawing lessons, seat work, related 
songs, poems, stories and gems for literary work, sketches 
of authors, studies of children of other lands, and programs 
for special days or national holidays. 

Although aimed especially for Primary teachers, much will be 
found of value for Intermediate Grades and also for the teacher 
in the uni-raded school. They are a mine of valuable material for 
all enthusiastic workers. 

Price, any month, September to June — 128 large pages, 25 cts. 
The 10 numbers, $2.25 in paper. In Cloth-bound in three large 
volumes, flexible cloth, Autumn, Winter, Spring— over 1,200 pp. — 
prepaid, $3.50. 



'Uhe ScKool Year BooKs 



THE FIRST 
SCHOOL TEAR 




A UNIQUE and helpful series of 
books for teachers everywhere. 
Each volume presents a year's 
school work, month by month, 
with ample lesson material, well selected, 
carefully planned and suitably correlated. 
Prepared by teachers of the Southwestern 
State Normal School, California, Penn- 
sylvania. 

They are not a mere course of study 
or book of methods, nor a collection of 
teaching material, but they are all of 
these, and more. They difiEer from a 
mere course of study as a living body 
differs from a skeleton. They show the 
teacher at work. 



FOR THE GRADES 

A separate book is devoted to the work of each grade from the first to the 
eighth. The books for the first, second and third school years have already 
appeared. The others are in preparation, 

FIRST SCHOOL YEAR 

By Anna B. Thomas, Primary Training- Teacher. Mailing price. 60 cents. 
Gives for September — Nature Study, Fruits, Flowers, Leaves, Literature and 
History, Stones, Palms, Number Work, The Arts, Drawing, Writing, Construction 
Work, etc. Each month, September to June, on the same general plan. Cloth, 176 
pages. Price, 60 cents. 

SECOND SCHOOL YEAR 

By Henrietta M. Lilley, Training Teacher of Second Grade. (Ready.) IV^ail- 
ing price, 60 cents. Gives for September — Nature Study, The Butterfly, The Ant, 
Trees, Fruit, Poems, Literature, etc. About Nature for September, Number Work, 
Language, The Arts, Writing, Modeling, etc. Each month is treated in same way. 
Cloth, 224 pages. Price, 60 cents. 

THIRD SCHOOL YEAR 

By Ellen Reiff, Training Teacher of Third Grade. (Ready.) Mailing price, 
60 cents. On same general plan as for first and second years, but includes, in addi- 
tion to topics treated in former books. Geography. This book is 208 pages. Price, 
60 cents. 

THe THree Books for Only $1.50. 



From Superintendent H. L. Lunt, Riverside, Cal. 

"I have received the First, Second and Third School Year Books, and I want 
to tell you how much I appreciate what you and those expert teachers have done for 
the benefit of teachers ^nd superintendents who are working on courses of study." 

A. Flanagan Company 

CHICAGO 



LIBRARY OF CONGRESS 



019 821 851 i 



